Tag Archives: Steve Earle

Commentary

Country Exclusive is Back

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Well, after a hiatus that wasn’t really meant to happen at all, much less to become so extended, I am happy to return to writing. Thanks to everyone who reached out to me either here or on Twitter; I was humbled by the love shown for CE and for me personally. It is a long and unnecessary and somewhat ongoing story that has kept me from writing for so long, and I’ll try to prevent it from suspending my writing again, certainly for this length of time.

I hope to catch up with 2019 albums, but I would like to wrap up 2018 a little. The year was never meant to end like that, and everything feels a bit unfinished. There were so many great albums last year, including a few I did not get the chance to write about; Jamie Lin Wilson’s was one of the best of the year, and I regret not getting to review it. I can’t tell you exactly how the rankings would have gone at the end of the year. Even at the midyear mark, I refused to rank albums because so many were so close and so good. I can tell you, however, that Country Exclusive’s 2018 Album of the Year is The Tree by Lori McKenna, and if any of you have failed to give that record a proper listen, you’ll only be helping yourself by rectifying that. I cannot even begin to narrow down the many great songs that would have been in contention, so there is no definite Song of the Year.

At the beginning of 2018, I set a goal to attend twelve live shows and write about them for CE. The end result was that I went to eleven, not counting a second Colter Wall show in November and a Jason Eady show in July because I had already written about Eady in 2017. The last two artists I saw were Tyler Childers and Steve Earle, both in December. I fully intended to write about those two shows, Steve Earle’s being one of the best I have seen in 2018 and really ever. Along with the year-end lists, I had considered writing a recap/conclusion of my experiences with live music in 2018. I may still do that if you guys are interested, but maybe it’s too far after the fact to be relevant.

I am trying to catch up with early 2019 releases, but if there is anything you think I may be overlooking, please let me know. As always, I look forward to sharing and discovering more great music with you all!

Playlists

My Top Twenty-Five Albums of 2017

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And now for the list you’ve all been waiting for, for the one I’ve been preparing for all year, and for the one that represents the heart and soul of what we do here. I debated much on how far to extend this list…should it be ten, or twenty, or follow suit with several of my lists this year and be thirteen? IN the end, I found that after reviewing seventy-eight albums so far in 2017 and featuring twenty-seven so far in Memorable Songs, not to mention others I’ve heard and did not include in that feature, that eight stood out above everything else and should be considered most essential on this list. Another fifteen stood out a little under that, and then it became a question of whether to cut the list of twenty-three down to twenty or search for two deserving others to round it out to twenty-five. I opted for showcasing more music, but as you’ll see, I’ve separated the most essential from the rest because those eight still stand proudly above the rest and should be recognized as such. One more note for any of you who might be newer, this list reflects the evolving, changing nature of music and my reactions to it throughout the year, so rating should not be considered a huge factor at this point–a factor, yes, but second to how well the music has held up over time.

Essential Albums

25. Kody West–Green

Standout Tracks: “Green,” “Ledges,” “Ogygia”
This album starts off an exciting trend here–a good amount of debut albums making this list. It’s been a great year for debut records, and Kody West is certainly the most interesting thing to come out of the Texas/Red Dirt scene this year. Not the best album from that scene, but something new and refreshing, blending the traditional and the modern, the country and rock influences, into something cool and promising. Check this out while you can still say you were ahead of the curve with West.
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24. Nikki Lane–Highway Queen

Standout Tracks: “Jackpot,” “700,000 Rednecks,” “Highway Queen,” “Forever Lasts Forever”
So many boring, mid-tempo albums in the independent/Americana scene in 2017. This is fun and vibrant, a breath of fresh air and personality. This is an artist coming into her own and being herself in the best way possible. It stands out above many others simply for the jolt of energy and life it offers, proving that you can make a good album in this scene and write smart hooks without being so serious all the time.
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23. Robyn Ludwick–This Tall to Ride

Standout Tracks: “Freight Train,” “Texas Jesus,” “Bars Ain’t Closin’,” “Lie to Me”
I’ve been saying this since it came out, but if you can get past the hookers and cocaine all over this record, it’s a great listen. The melodies are engaging and the sentiments relatable, and credit to Robyn Ludwick for exploring these subjects, so often ignored in country, and giving a voice to these characters. Her knack for portraying people usually so ignored and misunderstood by society is remarkable, and though not as blatant a form of social commentary as say, the next album here, this one still has a lot to say and does it in a really interesting way.
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22. Rhiannon Giddens–Freedom Highway

Standout Tracks: “At the Purchaser’s Option,” “Julie,” “Better Get it right The First Time”
While we’re here, I’d like to say that not including “Better Get it Right the First Time” on my Spotify and Apple Music playlists was a complete oversight, and it should have been there, though I have no idea what it would have replaced. That said, this album is better all the way through, as a whole, as it tells the story of African-American history and heritage that is more story than song, more reflection than sermon, and teaches the past while still looking hopefully into the future. Some might wonder why it isn’t higher on this list, and that goes back to a rating thing–this album is not perfect, but it’s very good and received an 8.5 here. Yet it’s just something you respect more than you enjoy, and while it’s a great album, it’s not the album you’re going to pull out and listen to over that much. Still, it’s got something to say, and it does so in fine fashion.
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21. Turnpike Troubadours–A Long Way From Your Heart

Standout Tracks: “Pay no Rent,” “The winding Stair Mountain Blues,” “pipe Bomb Dream,” “A Tornado Warning”
I know, I know, it’s Album of the Year for a lot of people. Turnpike did receive Album of the Year here in 2015 for their excellent self-titled release, and while this is still a great album, in the spirit of honesty, I have to say it’s not the best of their material for me like it is for a lot of people. Brianna and I reviewed this together, and she’s got a considerably more favorable opinion of it than i do. That said, the songwriting here is in some places the best of the band’s career. They’re consistently churning out good quality country music, and you can’t go wrong with any of their albums.
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20. Shinyribs–I Got Your Medicine

Standout Tracks: “I Gave up All I Had,” “Trouble Trouble,” “I Don’t Give a Shit,” “Tub Gut Stomp & Red-Eyed Soul”
This is the exact opposite of Rhiannon Giddens’ album before it–it’s the antithesis because it’s bright and fun, and you’ve got to be in a certain mood to appreciate it. It doesn’t take itself too seriously, and it’s nearly perfect for what they’re trying to accomplish here. I hold back slightly because again, you aren’t going to pull this out quite as much as some others, and also there’s only really a smattering of country here, but this is just warm, infectious music that puts a smile on your face, something we all need these days. Give this a chance.
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19. Steve Earle & the Dukes–So You Wannabe an Outlaw

Standout Tracks: “Walkin’ in L.A,” “Fixin’ to Die,” “This is How it Ends” (ft. Miranda Lambert)
I’ve had a strange relationship with this record–at first I loved it, then several people pointed out the pretty much sloppy production on the album, and I grew to not like it as much despite not being able to hear all the production issues myself. When reviewing albums I loved this year, I went back to this and found what I loved again–so I get it if you don’t like this album because of the production, but honestly, I enjoy the hell out of this and think it’s one of Steve Earle’s best in a good long while.
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18. Dori Freeman–Letters Never Read

Standout Tracks: “Cold Waves,” “If I Could Make You My Own,” “over There,” “That’s All Right”
The album to check out for that long-lost Appalachian sound. For me, not quite as good as her outstanding debut–tied for unofficial Album of the Year in 2016–but still a solid collection of tunes. Dori didn’t change much, or anything really, with this approach, but why should you when it worked so perfectly the first time?
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17. John Moreland–Big Bad Luv

Standout Tracks: “Love is Not an Answer,” “No Glory in Regret,” “Sallisaw Blue,” “It Don’t Suit Me (Like Before”)
Some of this is the best songwriting of the year. And it’s not just his lyrics, it’s the production and, most of all, the warm, engaging melodies that keep you coming back and listening. In fact, a lack of accessibility may be this record’s only flaw, as it’s almost too deep, and he’s almost writing too much on another level. That said, this is poetry at its finest and set to melodies that really allow it to shine and grow over time.
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16. Jaime Wyatt–Felony Blues

Standout Tracks: “Wishing Well,” “Wasco,” “Stone Hotel”
Another debut record, and one of the most exciting of the year. This is easily the project that has grown the most for me throughout the year, as Jaime’s music only continues to get better. A nice little album that draws on her own experience in the best way possible to tell a story of second chances and starting over, and to actually create something I’d call outlaw country, if that were a style.
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15. Jason Isbell and the 400 Unit–The Nashville Sound

Standout Tracks: “Last of my Kind,” “Tupelo,” “If we Were Vampires,” “Something to Love”
And here it is, the album that produced the 2017 Song of the Year. Once again, Jason Isbell delivers with a slice of that incredible songwriting, and on this album, it also gets backed up by more interesting and diverse production. Not a perfect album, and I still don’t know what the hell “Chaos and Clothes” is supposed to be, but this is his best and most accessible album to date.
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14. Kasey Chambers–Dragonfly

Standout Tracks: “Ain’t NO Little Girl,” “Jonestown,” “Shackle and Chain,” “Talkin’ Baby Blues,” “Summer Pillow,” “Golden Rails”
More standouts here because we’ve got a double album on our hands. Much like Dori Freeman, Kasey Chambers isn’t necessarily breaking any new ground here, and this isn’t quite on the level of her excellent 2015 record Bittersweet, but this is an expansive showcasing of all her styles, from more traditional to rock to bluegrass to pop. She can do it all very well, and it continues to baffle me how little love we give her in the States.
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13. Travis Meadows–First Cigarette

Standout Tracks: “McDowell Road,” “Sideways,” “First Cigarette,” “Pray for Jungleland”
This album has to get Production of the Year, not necessarily because it’s the most impressive display, but because it is the album where the production contributes most to the overall story and general enjoyment of this record. It’s a little journey through his life, nostalgic for the past but content with the present, and the extra care taken to do things like make all of the songs flow into each other so that it’s as if you’re taking the trip right along with Travis, makes this a special listen.
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12. The Infamous Stringdusters–Laws of Gravity

Standout Tracks: “Freedom,” “Black Elk,” “This ‘ol Building,” “Maxwell”
Well, I didn’t get to nearly as much bluegrass as I’d have liked this year, but this is one badass bluegrass record and the best one I’ve heard in 2017. It’s got all the wonderful instrumentation we expect from this genre, but it’s also got great storytelling, not to mention a youthfulness and vibrancy permeating the whole thing. This is the album to send people’s way who think bluegrass is stuffy and boring and old-fashioned, trust me.
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11. Crystal Bowersox–Alive

Standout Tracks: “A Broken Wing,” “The Ride,” “Marlboro Man,” “Let me Walk Away,” “NO Mistake,” “Mine all Mine”
I don’t know why more people didn’t pay attention to this throughout the year, but now’s your chance. This is a live album, but it’s not your typical one recorded for a huge audience and just providing live versions of previously released material. This was recorded in an intimate setting for sixty people over the course of three shows and features mostly new songs. It’s a unique album about being alive that captures perfectly her current state of mind and explores all the joy and pain that being alive has to offer. And this is, without question, the best album vocally of the year.
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10. John Baumann–Proving Grounds

Standout Tracks: “Old Stone Church,” “When Ophelia Comes to Town,” “Here I Come,” “Holding it Down,” “The Trouble With Drinkin'”
This album is the perfect balance between both sides of the Texas scene–the side with more depth and incredible songwriting, and the side with cool, vibrant songs that would sound awesome in a live setting. And if you wonder why only one of these songs made my Apple Music and Spotify playlists, it’s honestly because I could have picked almost the entire album and decided to limit myself.
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9. Justin Payne–Coal Camp (EP)

Standout Tracks: “Miner’s Soul,” “Piece of my Life,” but it’s better as a whole
Yes, I know, an EP actually made it this high on the list. It’s because Justin Payne’s very special love letter to the coal region of West Virginia is just right at six songs. Plus, it’s got the added awesomeness of actually being delivered by a coal miner. This blew me away the first time I heard it, and it still does.
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Most Essential Albums

8. Zephaniah Ohora–This Highway

Standout Tracks: “Way Down in my Soul,” “High Class City Girl From the Country,” “She’s Leaving in the Morning,” “I Do Believe I’ve Had Enough”
And now for the eight that were impossibly hard to rank. This one is certainly the most country and is a near flawless representation of the countrypolitan sound. And it’s by some guy from New York City, thoroughly walking all over the stereotype that you have to be “authentic” to make good country music. The sheer genius of this is that he doesn’t try to hide anything or be something he isn’t, and that in turn makes it authentic. Also, this is another debut, so imagining where Zephaniah Ohora can go from here is pretty exciting.
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7. Jason Eady (self-titled)

Standout Tracks: “Barabbas,” “Black Jesus,” “NO Genie in This Bottle”
So, Jason Eady produced two of my top five songs of the year which is pretty impressive and insane. It’s also pretty insane that in a year of mid-tempo, boring country/Americana releases, Jason released a completely stripped-back, acoustic affair, and yet because of the sheer beauty in the songwriting and the warmth of the melodies, it manages to rise above everything else and be one of the best albums of the year.
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6. Tyler Childers–Purgatory

Standout Tracks: “Whitehouse Road,” “Lady May,” “Honky Tonk flame,” “I swear (to God),” “Tattoos”
This is my most played album of 2017, and it gets better each time. I wrote all these standouts here, but this one, like some others here, is better as a full listen, as you go on Tyler’s journey of finding love, screwing it up, and turning to vices. And although this isn’t a debut, this is his second album and his first major moment, and it’s a moment that has been very well deserved.
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5. Suzanne Santo–Ruby Red

Standout Tracks: “Best out of Me,” “Better Than That,” (ft. Butch Walker), “Ghost in my Bed,” “Love Fucked UP”
Another solo debut. This, although it’s certainly got some acoustic, country-leaning moments, tilts more toward the rock side of things, and I debated whether to include it this high on a country list for that very reason. But I’d be lying if I said it wasn’t one of the best records of the year for me and another one of the few that blew me away from the very beginning. A hard-edged album that talks of drinking and sex and vices, it’s definitely got something to say. Probably not for everyone, but definitely for me.
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4. Ags Connolly–Nothin’ Unexpected

Standout Tracks: “Haunts Like This,” “Do You realize That Now?”, “Neon Jail”
My only regret here is that I wish it hadn’t taken me till July to hear this because I could have been enjoying it since February. This is nothing flashy, or “unexpected,” but it’s a case of everything just working–the extra touches of instrumentation like the piano and accordion, the wonderful melodies, the lyrics that sink in more and more each time you hear it. This is another one I’ve loved from the start. The definition of a nice, easy listen. And to top it all off, this guy’s British, so he joins Zephaniah Ohora in proving that just being yourself and singing in your own accent about your own stuff can produce the best music.
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3. Angaleena Presley–Wrangled

Standout Tracks: “Dreams Don’t Come True,” “Wrangled,” “Good Girl Down,” “Mama I Tried”
Yep, another one that had me on first listen. This is Angaleena Presley’s self-proclaimed “f you” record to the industry, and in candid, sometimes subtle, often angry and inappropriate, ways, she delivers just that. She addresses her struggles in the business and the discrimination against women, and does so in engaging and entertaining ways that keep this album playable and interesting despite the importance of the messages being conveyed.
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2. Colter Wall (self-titled)

Standout Tracks: literally everything here except “You Look to Yours”
Another debut, another one that throws the authenticity debate out the window, as Colter’s from Canada, and another one that absolutely blew me away from the beginning. Colter Wall and his astounding, throwback country voice have a ridiculously bright future ahead of them, and when you combine that voice with tales like these, of hopping trains and sleeping in lonely hotels, of murdering your girlfriend and spending your days in prison for it, this record captures another time and place in a way that makes it, well, timeless.
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Album of the Year

1. Marty Stuart and his Fabulous Superlatives–Way Out West

Standout Tracks: “Please Don’t Say Goodbye,” “Way Out West,” “Air Mail Special,” but really, it’s about the album as a whole
And speaking of capturing another time and place, enter Marty Stuart and this album…only instead of capturing it in the throwback way of Colter Wall, this is done in a vibrant, fresh, forward-thinking manner. It’s an almost psychedelic record, an exact representation of country evolving in 2017 in a way that still respects the roots of the genre. I’ve said this before, but in a genre of lyrics and stories, the risk that Marty Stuart took by delivering this in a thematic way that connected the songs by their music and mood should be commended. It’s almost cinematic, and in an era where the album concept is being lost in the mainstream, and in the independent scene where it’s thriving, the albums are still basically just collections of good songs, this record literally has to be played all the way through to be fully understood and appreciated. A concept record and a fine one, the most impressive one of 2017.
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P.S. Honorable Mention to Kesha, who couldn’t qualify for this list because of genre, and her album Rainbow for being far and away the best non-country album I’ve heard in 2017.

Reviews

Album Review: Steve Earle & the Dukes–So You Wannabe an Outlaw

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Rating: 8.5/10

I’m not really sure I need to write any kind of introduction to this; I’m pretty sure Steve Earle has been introducing this quite well on his own, and that may or may not be taking away from the music. So I’m going to take the advice from Steve’s own comment, and let this be about the songs. What I will say is that he stated both that he wanted to make a record inspired by the outlaws, and more specifically, Waylon, and that this record would be about dealing with loss. And what we get is basically exactly that–the front half is filled with badass, renegade/outlaw material–or at least what we might think of when referring to that term–and then the back half adds to the validity of it all by taking us on journeys of heartbreak, loneliness, and loss, and in the end, you’re left wondering if this outlaw thing is really all that great after all, and perhaps second-guessing your dream. And in a way, that separates this record from all the others trying to be cool outlaw because it shows all the sides to the story, the glamor along with the pain.

That’s not to say there aren’t painful realities on the first half. IN fact, the opener and title track starts the album by explaining all the things you have to go through if you really want to be an outlaw, albeit in a pretty lighthearted manner. Willie Nelson appears here, which adds to the message and the overall coolness of the song. You also have “Lookin’ For a Woman” and “If Mama Coulda seen Me,” both of which Earle wrote for the show Nashville–the former is a restless heartbreak song where the narrator is trying to find a woman who “Won’t do me like you,” and the latter is about a prisoner who is thankful that his mom died before she had to see him in chains. All of this half, however, is pretty upbeat, and even though the material is dark, some of the glamorous side of being an outlaw still shines forth in the attitude and in the cool blending of country and rock instrumentation. This half comes to a brilliant, angry climax with “Fixin’ To die”–this song is told from Death Row, and I didn’t mean to compare it to Chris Stapleton’s song “Death Row,” but that’s what happened. I said before that Stapleton’s didn’t quite have emotion even though he belted it–I know a lot of people disagreed, but the point I’m making is that whether it came through or not, Stapleton meant that song to be sad. When this opens and Steve Earle bellows, “I’m fixin’ to die, reckon I’m goin’ to hell” and then adds, “I’d be tellin’ you a lie if I told you I was takin’ it well,” for me, that captures all the emotions, from anger to sadness to regret. It’s an intense story and definitely a great way to complete this more rocking front half of the record.

It’s the back half, however, that really makes this album shine and adds an authenticity to these opening songs. It’s one thing to sing about being an outlaw for the sake of it, but when you get to stuff like “This is How it Ends” and “You Broke my Heart” and see there’s a tender side to this story, it really adds something to the whole project. Steve Earle mentioned loss, and it is explored in every form here, from the heartbreak in these two songs, the former of which features Miranda Lambert, to the poverty and self-doubt in the excellent “Walkin’ in LA” to the closer, “Goodbye Michelangelo,” a tribute to Guy Clark. “Walkin’ in LA” features Johnny Bush, the writer of “Whiskey River,” and it’s one of the best songs on this whole thing, despite it not being the most flashy. It’s one of those rare gems where the melody, the lyrics, and the instrumentation all work together flawlessly to form an incredible piece of music. The melody and beautiful acoustic guitar play in “Goodbye Michelangelo” really add to that song as well. It’s a great way to close the album.

As much as I loved this record, I do have a couple criticisms. There are a few songs that felt like filler; “Girl on the Mountain” was sandwiched between “This is How it Ends” and “You Broke my Heart,” and so it stands out as the weakest heartbreak song of the three. At first, I really didn’t enjoy the pairing of Earle and Miranda Lambert, but that’s growing on me, mainly because it’s just such a damn good song. My initial problem was that Lambert is meant to be singing harmony, but sometimes she drowns out Steve. I’m starting to like it better because in doing so, she makes it easier to understand some of the lyrics. ON the front half, “The Firebreak Line” is quite a fun song, but it doesn’t necessarily add much. “News From Colorado,” the only subdued song on the front half, is also a little vague and underdeveloped lyrically. But all these are really minor, nitpicking criticisms, and overall, this record is pretty great.

So, in conclusion, this is a pretty fascinating album. First, you have the angry front half, and then you have the subdued, heartbroken back half, and together they tell a very good story. Steve Earle is a fine songwriter, and the natural grit in his voice just accidentally adds a lot to this album and the stories told. Every collaborator also brought something to the record. I mentioned there were some weaker songs, or perhaps even filler, but at the same time, it’s one of the few albums I’ve played in 2017 without a single bad track. Very nice, solid album. Give it a listen.

P.S. I’m not reviewing the deluxe version, but that also has four pretty awesome covers of songs previously written by Waylon, Willie, and Billy Joe shaver.

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Commentary

“It’s Always the Songs”–What we Should Learn From Steve Earle’s Recent Outbursts

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Ahead of his new album So You Wannabe an Outlaw, Steve Earle has not been afraid to speak his mind. IN a recent interview with The Guardian, Earle calls out, among other things, the current state of pop country and says that the mainstream is nothing but “hip-hop for people who are afraid of black people.” He also says that “the best stuff coming out of Nashville is all by women except for Chris Stapleton.” I don’t want to focus too much on this interview since that’s not originally what this article was meant to be about, but it adds new light to it and strengthens the point I was originally going to make here–Steve Earle is not afraid to be honest and share his opinion. However, the thing is, although it’s not overly common, bashing pop country is certainly not uncommon, and we’ve seen our fair share of artists do so over the past several years. The thing that makes Earle’s recent statements different comes in light of another interview, which before today had been the main focus of this piece.

IN another interview in Canada, with The Globe and Mail, when asked about Canadian songwriters, Steve Earle mentioned Colter Wall, citing him as “the best singer-songwriter I’ve come across in years.” Here’s where the interview takes an interesting turn.

I haven’t heard his new album yet, but I heard him [Colter] described as “bad Richard Buckner.”
Richard Buckner sucks. Richard Buckner is the most overrated songwriter in the history of songwriting ever. Girls liked him, because he stared at his feet. He’s a neanderthal. I know Buckner.
I’m quite fond of Buckner’s music. Particularly, The Hill (2000).
He can’t write his way out of a wet paper bag. Richard Buckner was nothing but a painfully alternative hipster’s darling. But I hate a lot of things people think are brilliant. I will not read Cormac McCarthy again. Technically, he’s one of the best writers I’ve ever come across. But I don’t think his intentions are good. I don’t think he likes us. I don’t think he likes himself. Actually, I think he likes himself just fine. That’s what’s so disgusting about it. I think he thinks the rest of us are pieces of [garbage].
Painfully alternative hipster’s darling, you say about Buckner. Can you explain that?
I don’t want to be a part of a culture that defines itself by what it hates. I can’t stand alternativism. I mean, I hate disco, but I have to admit there’s been some great art coming out of dance music.
But out of hate and alternativism comes great art. Punk rock, as a reaction to disco, for example.
Sure. But the stuff that’s great in punk rock are the songs. The songs hold up. The stuff lasts. Nirvana’s not Nirvana because of punk rock. Nirvana’s not Nirvana because it was different than hair metal. Nirvana is Nirvana because Kurt Cobain was a world-class songwriter. It’s always the songs.

First of all, I had never heard the name Richard Buckner before this interview, and let me tell you, after getting acquainted, Steve Earle is entirely correct, Richard Buckner sucks–but that’s beside the point. The point is, and it’s been strengthened today by his criticism of the mainstream, that he’s not afraid to judge the independent/Americana/alternative in the same way as what is popular. We’re all pressured by that in this independent country scene, to like everything Americana just because it’s not on the radio or isn’t considered mainstream. But let me tell you, a lot of it bores the hell out of me, and Country Exclusive was founded on a principle of honesty. When I said that, I didn’t just mean bashing the mainstream, and I get that there’s a certain problem with spending too much time unnecessarily bashing the little guy, but there’s also this elitist attitude in the Americana world that makes it seem as if you can’t criticize anything about these artists. Hell, there are albums I enjoy but have slight criticisms about in Americana, but somehow, if we say that, it’s a horrific thing. Criticism is meant to be constructive, and to share an opinion–and if the artist deems it necessary to listen, perhaps to make that artist better, but again, it’s just someone’s opinion. WE all find it easy to bash Nashville and pop country, and we all rally behind people like Steve Earle when they do the same. So why do we attack him for saying something negative about an Americana artist? I love that last point–“It’s always the songs.” Let it always stay about the songs. That goes for you mainstream fans afraid to like Jason Isbell, and for you independent/alternative/Americana fans afraid to like Chris Stapleton because he wrote some mainstream hits. Just let it be about the songs. They should, and will, speak for themselves.

Random Reflections

Reflecting on: Steve Earle–Copperhead Road

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Yeah, okay, so I’m going to refer to Steve Earle quite a lot in the next few days, so just get used to it. Ever since we heard about the new album, I’ve known I would do a reflection of Steve this week. The obvious choice would be Guitar Town–that’s the one album everyone seems to cite as his best, and it’s the album that Earle said inspired him to make this new record when he revisited it for its thirtieth anniversary. But Copperhead Road is the one I’m doing instead; for one, just because Guitar Town is more well-known, and also because the title track is such a signature song for Steve Earle and a timeless song in country music. It’s a song I’ve grown up hearing everywhere, and my final decision came to do this album when Brianna broke my heart by telling me she’d never heard that song.

Release Date: 1988
Style: country rock, almost like Red Dirt before we called it that
People Who Might Like This Album: fans of Texas and Red Dirt music, especially the harder-leaning stuff, maybe people who like stuff like Eric Church or Kip Moore
Standout Tracks: “Copperhead Road,” “The Devil’s Right Hand,” “Snake Oil,” “Nothing But a Child”
Reflections: All right, so this was cool for me, because I know some Steve Earle songs, but I’m not overly familiar with his albums. It wasn’t a first-listen sort of experience when I played Copperhead Road for this piece, but it also wasn’t something I knew like the back of my hand. What struck me that I’ve not really thought about before is the style; in 1988, you had stuff like George Strait and Keith Whitley and Randy Travis fighting for a more traditional sound on country radio, fighting to take back country from the more pop-influenced stuff–and then there’s this, which is just totally different from any of that. Nowadays, you get so many mainstream artists blending country and rock–some do it well like Eric Church and occasionally Kip Moore, which is why I mentioned them above, and some just release arena rock with no country influence. The point is, it’s normal; that’s basically what the entirety of Red Dirt music sounds like. in 1988, this was a very unique sound, and like I say, I’ve never really taken time to consider that fully.
I mentioned the title track, and now I have to say, if you’ve made it to this point in your journey without hearing “Copperhead Road,” I’m frankly a little shocked; it’s just such a classic, at least where I’m from. I heard it all the time growing up, at various events, bars, wedding receptions, etc. Anyway, it’s a fun song about a Vietnam veteran whose family made moonshine, and after the war, he uses that knowledge to grow and sell marijuana “down copperhead Road.” “Snake Oil” is another fun one; I’m reminded a little listening to this record that stuff can be fun and upbeat and still be well-written, a lesson mainstream Nashville could learn. But there are some serious moments too, like the closer, a stripped-back religious song called “Nothing but a Child.” It’s probably the most country one here.
I don’t think Steve Earle has always put out good music; in fact, I’m more excited for Friday’s release from him than I have been for one of his records in years. But those early albums were great, and you should check them out. And yeah, that goes for Guitar Town as well, even though I didn’t write about it.

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